I'm very excited about the opportunity to work with a team of clever, tenacious, and motivated people who are really passionate about visual design from concept to execution. I adore the work that is coming out of Hambly & Woolley—and I think I may fit very well in the studio.

My interests have always met at an intersection of the visual arts, community, and storytelling, and my design work is informed by a unique breadth of experience, a lateral approach to research, and a desire to understand the world around me. I'm a versatile design thinker and I'm very comfortable in collaborative situations. 

As a graphic designer, I believe in the power of design to help direct or create connections to big ideas, whether that's a product, a process, or a way of being. I also have a BA in Philosophy, I've worked in a Toronto homeless shelter, I was a community organizer in Winnipeg, I have retail management experience, and I'm a constant learner... As an independent designer, working largely with entrepreneurs growing their first business, these qualities have been a great asset to my clients and ultimately to creating great customer experiences.



Recent Roles

  • 2010–now: 
  • 2013/2014:
    Direct Focus Marketing,
  • 2012/2013:
    Vantage Studios,


  • 2014-2015: Reel Pride LGBTQ Film Festival, Board Member—Marketing & Communications
  • 2013-2015: Pride Winnipeg, Brand Manager
  • 2014-2015: Winnipeg Neighbourhoods Association, Member Ex-Officio
  • 2012-2015: Downtown Community Residents’ Association, Founding Board Member


  • AppliedArts Magazine
    Design Awards: 
    Design/Packaging, 2012
  • Society of Graphic Designers
    of Canada: 
    National Scholarship Award, 2011

Other Experience(s)

  • 2003-2011: Barista + Assistant Manager, Starbucks Coffee (Toronto/Winnipeg)
  • 2002-2003: Intake/Relief Worker, Gateway Men's Shelter (Toronto)
  • 2001-2003: Chief Editor, Tyndale University College newspaper (Toronto)
  • 1999-2003: Volunteer street outreach with street-involved youth (Toronto)
  • 1999-2000: Volunteer tutor with Somali refugee families (Toronto)

Assorted Interests

Jazz piano, music theory, urban planning, typographic history, book covers, poetry, coffee, Bourbon, cultural criticism, white paper, block prints


See a full portfolio and all the project details HERE


The worst working atmosphere is the 'production factory' for handbills and marketing collateral where expectations haven't been managed well for the clients—and where clients are not engaged at all. Turning around pieces in the shortest timeframe and using unlicensed graphics and imagery is the only expectation: quick and dirty. This is definitely not the place where a thoughtful designer can thrive: in the end, clients get work done cheaply and quickly, but it does little for their business needs—and creates a culture of burned out and frustrated designers.

The greatest work I've done has always been in collaborative settings with truly engaged designers and collaborators who were looking out for the client's best interest. In the best cases, the client would be part of that process from the start, and directly in contact with the full design team. Rapidly firing questions across the table in these early meetings were incredibly helpful for clearly marking our trajectory and setting useful goal-posts for the remainder of the design process. 





I have had the opportunity to help entrepreneurs build their visual identities from scratch and also to help established brands to refresh or update their identities. Maintaining the equity that a brand has already established in the market is of course the most important factor.

I recently worked with Tamarack Clothing in Winnipeg, Manitoba, to rebrand their 25+ year business, and I'm very proud of the results. The company had become more specialized as a high-end outdoor clothier instead of an out-tripping gear specialist—the customers of Tamarack over the years had driven that change and the name Tamarack had come to be synonymous in Winnipeg with high-end outdoor wear. But the old identity was failing to align with the feeling that customers had with the brand as it had grown; The connection to the brand needed to be updated to visually reflect it better as it grew into the future.

The original wordmark was a scratchy script that seemed to shout 1991 and was entirely appropriate to a company that specialized in wilderness gear and supplies. To take Tamarack into a more fashion forward direction, I gave them a bold sans serif typeface and modified the A into a glyph that was then usable as icons and patterns as part of the larger identity; stark black and white is the primary colour pairing, along with accents of two bright greens to be used for in-store signage, bags, and textiles.